There is a strong temptation to believe that photography is easy.
Almost every phone is equipped with a powerful, point-and-shoot camera. Freely available apps will turn the most mediocre shot into one of professional-looking quality. We are so surrounded by photographic images on social media and advertising that they are literally commonplace.
And yet, mercifully, there are also photographers who offer their work to us as art.
Dianna Jazwinski is one such photographer. You might already have seen her work unwittingly; Dianna has produced work for publications such Gardens Illustrated, The English Garden and Country Living. Beautiful as these images are, quite a different category of Dianna's work was on display at the recent Worthing Artists' Open Houses exhibition. This was work which reached out and engaged with the viewer.
In this example, Antique Roses, Dianna presents us with an intriguing image. Dead or dying rose heads are scattered on a surface, dimly lit in such a way that intricate detail is still present. The tones and colour range are subdued; they don’t thrust themselves at us, and yet we are brought very close to the subject. For these and other reasons, this is a work which calls into play our memories, our world view and even our self esteem. Quite something for a pile of dead flowers.
The joy of this work is found in simply being with it. No critical analysis is needed. And yet, in many ways it exemplifies the work, the skill and the vision of the artist. The very first ‘seeing’ of the image in the mind of the artist is a good place to start. Here the artist has seen a pleasing and provocative potential where others might find little to inspire. Whether the arrangement has happened by design or accident doesn’t matter; it is the one which she has settled on. The practical decisions, such as how to frame the composition (for example, what should be included or excluded), have a direct impact on how we, the viewer, receives it. The technical decisions and adjustments - such as field depth, lens type and lighting - all have to be made. And then there is the choice of title ...
The finished work comes to us from this bringing-together of vision, skill and experience.
But there is far more besides. The meaning of any artwork is not owned by the artist. As soon as it leaves the studio, the viewer takes up their part of the work. How we respond to an image like Antique Roses is directly affected by what we bring to it and therefore individual (and personal). As a man of a certain age, I found myself engaging with this presentation of objects - things once of acknowledged beauty, but now discarded; items which had been cut out so that others might flourish - at a surprisingly deep level. I was saved,though, from negative introspection. These roseheads are given a dignity simply by being selected as a worthy subject. Their beauty is recognised by the lighting and the focus on detail. I find myself noting that the title Dianna has given is Antique Roses; not Dead Roses or Discarded Roses or even (save us) Untitled. This was a choice, not an accident, and invites me to consider what the adjective might imply.
Dianna’s work is varied, stimulating and beautiful. Take an opportunity to look further.